Errikos, I'll certainly give Big Fish a look - I watched and very much enjoyed Dolores Claireborne some years back. Very happy to hear you've some pleasant experiences of my home town; growing up there has located me very positively in a historical continuum, such that 'past' and 'future' aren't as jarringly at odds to think about as some 'Hegelians' would have me believe.
I too tend to prefer the "flowing" aspect of composition that you mentioned. I think I was about 14 when I bought my first classical LP: Rimsky-Korsakov's Scheherazade (but followed not long after by Bach's Toccata and Fugue). I'm somewhat averse to obtrusive ostinati in film music wherever it seems to me to be an instruction to march along with the metanarrative, "Simon Says" style. Perhaps my 1960s rebellious streak has never really gone away! Lol.
I agree with your comments about the strong probablity that Elfman, Damon & Afleck benefited from some serious help in the coming to prominence of their artistic endeavours. Indeed Wikipedia reports that Elfman had "orchestration" help from Oingo Boingo's guitarist and arranger, Steve Bartek, in the scoring of Pee-wee's Big Adventure. (Barf.) In the commercial arts, especially film and popular music, who knows how much crucial and pivotal "help" has never been credited or even spoken about? I'm guessing it's actually an awful lot. Some people need public accolades and adulation; others don't. Nevertheless I'm convinced there's plentiful evidence that Elfman has been a creative powerhouse in his own right. I still say, however, there's an unusually strong 'chameleon' aspect to his creative output. For my money, I've no idea who he really is or where he's really coming from. Of course that's just my three Ha'pence worth.
William, the whole of your first paragraph speaks for me also. I'd love to add some expletives of my own but I don't want to upset the Moderator, Lol.
One of my top fav Hermann compositions is Scene D'Amour from Vertigo. For me it's so very Herrmann.
Williams conducts Herrmann's Scene D'Amour (Vertigo)
But we could go on forever about superb examples of Herrmann's works.
I should perhaps point out, my use of the word "channelling" in the title of this thread doesn't quite mean "imitating." The Oxford Dictionary in my iMac defines the usage I intended pretty nicely: [verb, 2 (ii)]:- "emulate or seem to be inspired by: [e.g.] Meg Ryan plays Avery as if she's channelling Nicole Kidman." Listening to Elfman's concert suite Senerada Schizoprana, I simply couldn't escape the feeling that several of the pieces are very clear and very strong tributes to Herrmann - so much so that the word "channelling" might not be adequate, but I've chosen to use that word. Anyway, Elfman isn't shy about naming Herrmann at the top of his list of musical influences.
But to get back to the question I posed as the title of this thread. Yes, perhaps I over-egged the possible implication that Elfman has always and only channelled Herrmann - which clearly is not the case. But my point is, what's Elfman up to now, with this - for him - very uncharacteristic style in this trailer? My guess is, he's recognised that the HZ/JXL bish-bash-bosh droney hybrid bandwaggon is where the big money is these days, and he's definitely up for a bit of that.
If we're to be fair, we know we shouldn't try to typecast actors or writers or directors or composers. And yet isn't there always that nagging question - is so-and-so really suited to this, really capable of this?
In the case of Elfman, as I said in my OP, I quite like what he's done for this trailer ... but then again, I'm wondering - "well yes but it's just a trailer; what about the whole film"? Is Elfman really going to convince the Zoomers, for example, that he can speak their lingo, tune into their attitudes, lead them emotionally? Like Elfman, I'm a Boomer; also, I like to think Boomers have something pretty major in common with Zoomers (i.e. people younger than 25 today): both these generations have grown up feeling somewhat alienated from - or by - the rest of society, albeit for different reasons. Maybe that'll work in Elfman's favour for this film; we'll have to wait and see.
I recall many lame, grotesque or laughable attempts by film composers back in the '60s and '70s to engage Boomers with what was painfully obviously supposed to resonate with our own musical vernaculars. Oh dear God! Talk about cynical (or just desperate) speciousness! And I could mention a certain ex pop-band synth-player working as a 'film composer' today who seems to be up to the same kind of tricks as I've just mentioned - but I've no wish to risk perturbing Errikos' peace of mind, Lol. But I digress.
Well, maybe this film will be Elfman's gateway into the future; or not. Only time will tell.